Coverlet 1935 - 1942

Editor: This piece is called "Coverlet," made by Howard H. Sherman between 1935 and 1942, and appears to be a drawing or textile rendering of a hand-embroidered design. The intense red patterns against the white give it such a bold, graphic feel. What historical narratives are woven into this work, literally or metaphorically? Curator: I see in this "Coverlet" not just a decorative design, but a powerful echo of women's labor and cultural expression. Consider the context: created during the Depression, yet referencing an earlier time with the "1844" inscription. These coverlets were often community projects, aren't they? Spaces where women gathered, shared skills, and subtly encoded their lives into these textiles. It is not solely folk art; the handcraft evokes social ties and local politics. Does that prompt any thoughts about its deeper implications? Editor: I hadn't considered that aspect of collaboration and quiet resistance. It's easy to see it as just a pretty pattern, but thinking about women using craft as a form of connection makes the artwork a political statement, of sorts, and ties the domestic space to labor movements and community. Curator: Exactly. It reminds us that even within the domestic sphere, there can be rich traditions of resilience, identity, and social commentary. It really pushes us to re-evaluate what is traditionally meant by 'drawing', by looking instead at folk traditions that subvert traditional categories. Do the inscribed names, “Daniel S. and Sally Buck”, mean anything more? Perhaps we are simply looking at an historical interpretation – is it art or ethnography? Editor: Looking at this as art with ties to lived experiences has enriched my understanding. Thanks for illuminating it, to see both the personal and political layers intertwined! Curator: My pleasure! Recognizing the convergence of craft and historical context has changed my own view as well!